Carmina Burana, the staged cantata by Carl Orff, is a work unique in musical history, claims conductor Paavo Järvi: ‘The convergence of medieval texts with such daringly original orchestral colours creates a soundworld that is both archaic and yet beyond time, in which chorus, orchestra and soloists vie in splendour.’

Erkki-Sven Tüür, born in Estonia in 1959, writes music that is characterised by intense energetic transformation. The intuitive and rational approach is synthesised into a complete organic system. He is the composer of nine symphonies, ten concertos, numerous chamber works and an opera. Dedicated to his compatriot Paavo Järvi and composed to mark the centenary of the Estonian Republic in 2018, Tüür’s Ninth Symphony is entitled Mythos. According to the composer, this refers to the myths that arise about nations and how they have acquired their independence, and also deals with the long history of the Finno-Ugric peoples.

Pupil of Saint-Saëns, teacher of Ravel, titular organist of the Madeleine church and impactful director of the Paris Conservatoire, Gabriel Fauré (1845-1924) was a foremost figure in the French musical history. His complete works - including the emblematic Pavane, Requiem, Sicilienne, Berceuse and Après un rêve… - are documented here by a host of well-reputed artists of the French repertoire, and reveal his clear, pure and absolute style.This 26-CD complete edition spans Fauré's entire career and includes among the finest recordings in Warner Classics' rich catalogue, showcasing Fauré's exquisite lyrical style, emotional depth, and timeless beauty.

Controversy has surrounded Gustav Mahler's Symphony No. 6 in A minor, "Tragic," ever since he reversed the order of the inner movements, from what he originally published as Scherzo/Andante, to Andante/Scherzo, which became his actual practice. Whether one favors the former or the latter ordering may be a moot point, with a century of recordings of both versions indicating the general acceptance by audiences in either form. Paavo Järvi and the NHK Symphony Orchestra, Tokyo use the originally published sequence, also adopted by the 1963 critical edition, and deliver the symphony with high energy and force, reflecting the driven march of the opening Allegro energico.

Paavo Järvi and Deutsche Kammerphilharmonie Bremen (DKAM), who have won worldwide acclaim, including the 2023 Gramophone Magazine "Orchestra of the Year" and the 2024 German Classic Echo Award, have released the second installment of "Haydn: London Symphonies," featuring four of the composer's most mature masterpieces, including No. 94, known as "Surprise."

Following their recordings of Bruckner's Symphonies Nos. 7 (ALPHA932, Diapason d'Or) and 8 (ALPHA987, awarded 'best symphonic recording of the year' at the International Classical Music Awards), Paavo Jarvi and the Tonhalle-Orchester Zurich here conclude their tribute to the Austrian composer in this bicentenary year with a recording of his 9th symphony. The orchestra's history has been closely linked to Bruckner since it gave the first Swiss performance of one of his symphonies under Richard Strauss in 1903. "The great classical and romantic tradition of the Tonhalle-Orchester Zurich make it ideally suited to Bruckner, the central composer for modern symphony orchestras," says Paavo Jarvi. Bruckner composed this musical farewell (he wrote the words "a farewell to life" in the score) in his final years; legend has it that he was still working on the symphony on the day he died.

Born in Tallinn in 1962, Paavo Järvi is renowned for his dynamic interpretations and innovative programming. He has held prominent positions with leading orchestras, including the Cincinnati Symphony Orchestra, Orchestre de Paris, NHK Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, or the Tonhalle-Orchester Zürich more recently. Paavo Järvi's approach combines technical precision with expressive depth, making him a favourite among musicians and audiences alike.

Following their recordings of Bruckner's Symphonies Nos. 7 (ALPHA932, Diapason d'Or) and 8 (ALPHA987, awarded 'best symphonic recording of the year' at the International Classical Music Awards), Paavo Jarvi and the Tonhalle-Orchester Zurich here conclude their tribute to the Austrian composer in this bicentenary year with a recording of his 9th symphony. The orchestra's history has been closely linked to Bruckner since it gave the first Swiss performance of one of his symphonies under Richard Strauss in 1903. "The great classical and romantic tradition of the Tonhalle-Orchester Zurich make it ideally suited to Bruckner, the central composer for modern symphony orchestras," says Paavo Jarvi. Bruckner composed this musical farewell (he wrote the words "a farewell to life" in the score) in his final years; legend has it that he was still working on the symphony on the day he died.

As one of the world's cello stars, Truls Mørk is sure to garner extravagant praise for this CD of Schumann's Concerto in A minor, Bloch's Schelomo, and Bruch's Kol Nidrei, all three essential vehicles for any cello virtuoso. However, there are two weaknesses in his playing that need addressing. First, and most noticeable, Mørk is too loose in his tempi and rhythms, almost to the point of amorphousness. His licentious rubato is most alarming in Schumann's Concerto, which really needs a rigorously shaped solo to hold the piece together; and even though Schelomo is patently more rhapsodic and Kol Nidrei more freely lyrical, Mørk pushes his freedom too far, almost as if his love for producing a gorgeous sound makes him forget the bar lines.

No fewer than four major composers — Fauré, Debussy, Schoenberg and Sibelius — were inspired by Maurice Maeterlinck’s play Pelléas et Mélisande (1892). Given that we celebrate anniversaries of Fauré and Schoenberg in 2024, Paavo Järvi offers his reading of their settings of Pelléas et Mélisande with the Frankfurt Radio Symphony, whose Music Director he was for almost ten years. Debussy was so involved with his own operatic setting of Pelléas et Mélisande that the famous English actress Mrs. Patrick Campbell turned to Gabriel Fauré to write incidental music for the play; this music then became an orchestral suite in four movements that is considered to be Fauré’s symphonic masterpiece. Schoenberg followed advice given by his much-admired role model Richard Strauss in 1902 and composed his own symphonic poem based on Pelléas et Mélisande. Its complex combinations of musical motifs and the rich fabric of the large-scale orchestra not only captivate us but also reveal his own vision of this archaic and yet universal story.

Celebrating 80 years of vigorous artistic life with Brahms’ expansive and consoling mass for the dead, Ein deutsches Requiem, the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) under its Chief Conductor Paavo Järvi, is joined by soprano Natalie Dessay, baritone Ludovic Tézier and the Swedish Radio Choir in an interpretation described as “exemplary” by the Frankfurter Allgemeine Zeitung.

Jüri Reinvere, born in Tallinn in 1971, is an Estonian composer with a passion for theology and psychology; he has also written poetry. His collaboration with Paavo Järvi began in Pärnu, the birthplace of the Estonian Festival Orchestra, in 2016. This programme begins with And tired from happiness, they started to dance , in which feverish rhythms are followed by moments of ecstasy. Debussy’s music here comes to mind, as does the glistening brass in Bruckner’s symphonies. This is followed by a playful double concerto for flute — Reinvere had studied the flute, and it was thanks to this that he was able to join a military band instead of fighting in the Soviet army. On the ship of fools is inspired by the key phrase of a 16th-century novel: Mundus vult decipi, ergo decipiatur (The world seeks to be deceived, therefore let it be deceived). “People deceive each other on Facebook and Instagram”, comments Reinvere, whose music is both heady and troubling.

"I don't think Mendelssohn gets the attention he deserves," said Paavo Järvi at the start of the 2020-2021 season. Faced with this observation, he undertook to record a complete cycle of Mendelssohn's orchestral works with the Zurich Tonhalle Orchestra for his second season as Music Director. On the programme are the composer's five symphonies, including the second, known as 'Lobgesang', half-symphony, half-cantata, with the participation of the Zürcher Sing-Akademie, tenor Patrick Grahl and sopranos Chen Reiss and Marie Henriette Reinhold. Finally, A Midsummer Night's Dream , based on Shakespeare's play, the overture to which Mendelssohn composed when he was just 17, concludes this very fine cycle.

For newcomers to the work of Estonian composer Arvo Pärt, this generous two-disc collection of performances from EMI's archive would be a good place to start exploring. The authoritative Pärt performances would probably be the premiere releases on ECM, produced by Manfred Eicher, but these performances are all of a very high quality and there is a handful of works that ECM has never recorded. Pärt's most famous works are here; there are three versions each of the ever-popular Fratres (for violin and piano, string orchestra and harp, and string quartet) and Summa (for mixed voices, string orchestra, and string quartet), as well as the version of Spiegel in Spiegel for violin and piano, Cantus in Memory of Benjamin Britten for string orchestra and bell, and the concerto for two violins and prepared piano, Tabula rasa.